Somewhere between late nights spent gigging around LA behind the drum kit of the two-piece minimal post-punk outfit Cinder Cone, and early mornings spent turning the wheels of industry as a financial analyst, Foley found the time to put together this playlist chronicling the bands of the mighty Steve Albini.
Steve Albini is well known for a lot of reasons. He is a prolific sound engineer and runs his own studio in Chicago. He is outspoken and has a history of being provocative, particularly when talking about musicians, bands, and major labels. Most importantly for our purposes, he is/has been the guitarist/vocalist for three bands: the drum machine powered Big Black (1982 – 1987), the unfortunately named Rapeman (1987 – 1988), and the thankfully still touring Shellac (1992 – present). June 20th and 21st in Los Angeles. Yes.
This post will attempt to introduce Albini’s work as a musician. I tinkered with the idea of creating a playlist to cover his work as a producer but realized that a) the playlist would end up being several hours long and b) I’d end up having to include a very wide range of artists including Nirvana (he recorded In Utero), the Jesus Lizard, Joanna Newsome, Oasis, and Bush (yes, of the Gavin Rossdale, 16 Stone variety…although he didn’t record that album)
This playlist tracks each of Albini’s bands in chronological order. Big Black is arguably the most famous of the three, backed by a drum machine (aptly named “Roland”). Most of the songs were fast, raw, and abrasive. The lyrics were dark, disturbing, and sometimes offensive. For a comprehensive history, read the Big Black chapter in Michael Azerrad’s Our Band Could Be Your Life. As for the 4 songs here, I included them because, well, I like them the best.
Rapeman took the abrasive sound of Big Black, added a human drummer (Rey Washam of Scratch Acid), and decided on a horribly offensive name (apparently taken from a Japanese comic book). Although the name seems to be what got most people’s attention in the late 1980s, the band’s only album is actually very good. 3 songs from Two Nuns and a Pack Mule appear in the playlist.
Albini’s long-running, current project is Shellac. Shellac is abrasive but decidedly minimalist. There is a distinct space between each instrument (Albini on guitar, fellow sound engineer Bob Weston on bass, and professional drummer/hair stylist Todd Trainer on drums) that defines their sound. They’ve released 4 full length albums since 1994. I’ve taken a couple songs from each record. I’ve also added a live version of “End of Radio” because I think it’s better than the one that ended up on Excellent Italian Greyhound. I’ve also included a track off of one of their early EPs, “Wingwalker”, which continues to be a favorite at live shows.
In addition to the playlist below I have attached two links:
The first is a link to the website for Albini’s Electrical Audio studio in Chicago. If you’re a musician, or a geek, or both, it’s worth exploring.
The second is a random thread sent to me a couple years ago, in which Albini answers any and all questions about music, bands, and playing poker. Yes, it’s really him. Please enjoy.
1) The Power of Independent Trucking / Big Black- Songs About Fucking / 1987
2) Passing Complexion / Big Black- Atomizer / 1986
3) I, Dopa / Big Black- Song About Fucking / 1987
4) Stinking Drunk / Big Black- Atomizer/ 1986
5) Steak & Black Onions / Rapeman- Two Nuns and a Pack Mule / 1988
6) Monobrow / Rapeman- Two Nuns and a Pack Mule / 1988
7) Budd / Rapeman- Two Nuns and a Pack Mule / 1988
8) My Black Ass / Shellac- at Action Park / 1994
9) Crow / Shellac- at Action Park / 1994
10) This is a Picture / Shellac- Terraform / 1998
11) Copper / Shellac- Terraform / 1998
12) Wingwalker / Shellac- Uranus EP / 1993
13) Ghosts / Shellac- 1000 Hurts / 2000
14) Watch Song / Shellac- 1000 Hurts / 2000
15) End of Radio / Shellac- Live Version / 2006
16) Paco / Shellac- Excellent Italian Greyhound / 2007
Total Time: 64:14
Weird. When I was kid we had a goldfish named Rapeman.
ReplyDeleteA playlist chronicling the albums produced by Albini would be epically awesome, but also impossible to create since he's recorded thousands of bands, most of which no one has ever heard of. But yeah, he's such a great producer/engineer/whatever. For anyone doubting his producing prowess, just check out PJ Harvey's "Rid of Me." PJ herself succinctly describes why that album sounds so amazing: "I chose to work with him because more than any other engineer I know, he captures the sound of a band playing live—the sound of real instruments, of a drum kick. It doesn't sound processed, squashed or recorded in any way. It sounds like you're standing in front of a playing band. I think the instruments on the album sound like they're breathing and real. That's what I've always wanted to capture on record."
ReplyDeleteA few years ago I would have hated this. For some reason though, the older I get the more I seem to dig music that's abrasive and confrontational (which I guess is kind of Benjamin Button-like of me). So I don't hate this. But I don't love it. I feel like I respect this music much more than I actually enjoy it. After around 4 songs I get overwhelmed by the constant barrage raw aggression.
ReplyDeleteSome serious highlights though. "Passing Complexion" is incredible. Can't believe it's from 1986. It sounds like My Bloody Valentine! Way ahead of their time with that other-worldly distorted guitar loop. It's like they took sonic ideas first played with by early Public Image Ltd and launched them 10 years into the future.
"Steak and Black Onion" is another favorite. I love how the serpentine guitar riff keeps churning until it explodes into wailing slashes of feedback with Albini screaming over everything.
And "End of Radio" has no reference point. It literally does not sound like any other band. And the fact that it's done live is almost shocking- it sounds like it's going to fall apart any second, and it comes across like Albini is making up his sycophant rant as he goes along, which only makes it better. Then the whole the whole song just completely rattles when it kicks in. So cool.
But yeah, I can only take so much at a time. I feel like if I listened to this entire playlist walking around the city, I'd eventually wind up blowing a gasket at someone innocently bumping into me (then I'd probably get beaten up). After a while all the anger and aggression kind of seeps in. Someone needs to give Steve Albini a hug.
So while I think a lot of this is cool, I don't see myself ever getting into an entire Big Black/Rapeman/Shellac album.
And, of course, the sound of these recordings- particularly the later ones- is incredible. "Paco" is a testament to the PJ Harvey quote Chris picked out in his comment. I'm not even a sound geek guy, but jeez, the drums at the end of that song are just perfect.
"Martina Navratilova could not get a sponsor/ Martina Navratilova, your name is really fun to say/ I'll be your sponsor, Martina Navratilova."
OK, 5 years into the future. Loveless was '91 after all. Man, I'm such a dork...
ReplyDeleteYeah I spent my less happy days in Boston walking around listening to Terraform and just scowling at people. It certainly brings out the aggro side of me.
ReplyDeleteI included the live version of End of Radio specifically because he delivers that Martina Navratilova line. Its not on the album version. I was pretty disappointed when I discovered that.
What guitar did Albini play in Rapeman. Wasn't it a Tele I saw in one video. His sound just seems different in that band.
ReplyDelete